Picture-Play Magazine (Sep 1919 - Feb 1920)

57 1 By William Lord Wright The Author's Rights "When a story is sold to a magazine does the author retain the motion-picture rights ?" This question is asked repeatedly, and the answer is "it depends." Technically, you sell all rights to the story when you indorse the magazine's check ; and most beginners may consider themselves lucky if they can sell a story to a magazine without bothering about screen or other rights. The reputable magazines, however, are very generous in this regard. Even though they purchase all rights, they are always willing at least to divide with the author any movie money which may come in. Writers whose work is in considerable demand usually have an understanding when they sell their stories to magazines that they reserve the motion-picture rights. A question which frequently accompanies the one above is this : "Is it permissible to submit a story to a magazine and at the same time to submit a synopsis of the same story, with the same title, to a movie producer?" That practice is strictly unethical. Though it enhances the value of a story for screen use to have had it previously published in book or magazine form, the reverse does not hold. It is understood that when you send a story to a magazine you are offering exclusive material that has been unused in any form. The great weakness of many scenario Studio editors is a lack of studio experience. is a great QUESTIONS concerning scenario writing, addressed to this department, will be gladly answered, but they should be accompanied by a -stamped and addressed return envelope. Please note that we cannot undertake to read or criticize scripts. Those who wish the names and addresses of the principal producers, with lists of their stars and statements as to their general needs in the way of screen stories, may procure our Market Booklet, containing this information, for six cents in stamps. the opportunity to observe and learn. It school, and will accomplish more for the would-be author than anything else. A year spent right where the movies are made should qualify any one who has the real latent gift to write real-for-certain film plays and perhaps good continuity. You meet the stars, the directors, the writers, the camera men, see the pictures "taken," read continuity and stories written by those long in the game, and you cannot help learning something. There are too many in the motion-picture industry to-day who have never seen the inside of a studio, much less worked in one. And now I must add a few words to forestall the hundreds of letters which other wise I would be receiving within the next few weeks, all asking the question, "How can I get a job in a studio?" No one could answer that question, except to say : "The only way is to go to the studio direct and make application in person." I realize that for most of my aspiring readers this would be impossible and inadvisable. The suggestion, however, is not made for the many, but only for the few who, as I said before, have some tangible reason for taking such a step. Where Experience You can tell by their work. An editor of scenarios should have spent at least six months or a year in some studio, absorbing the atmosphere, watching the "shooting" of the scenes, gaining practical experience in the making of pictures. Theory is all right, but practice makes perfect. It is the same with those beginners who are ambitious to write screen stories. If you have some sound reason for believing you have it in you to do the work, why not bend all your energies on getting some minor occupation at a motion-picture studio for a year or so in order to learn the practical details of production? If you can afford it, offer to work gratis in return for Here is a sample letter which shows what the scenario writers have to conIgnorance tend with. It was received by United Is Bliss Picture Theaters, Inc., accompanying a synopsis intended for Dus'tm Farnum. Among other things the letter says: "This story is written in six complete reels, but could be successfully used for a five-reel play. I always write my ■ stories slightly oversize to allow producers a few extra scenes to allow for other scenes that would be unsuitable. I keep within censorship rules in writing stories. This story is absolutely a true one; the leading character is living to-day." And such persons wonder why their offerings are not accepted. The writing of stories "slightly oversize" reminds me of the continuity writer who put in a lot of business, stating that this could be "shot" by the director and then cut out if not necessary. In other words, the producer could hire a lot of actors, put in time and expense, and then cut the business out if it